For those who can’t get enough of Gatsby fashion, RULA Special Collections recently acquired a small donation of 1910s- and 20s-era stylebooks from American clothiers Hart, Schaffner & Marx and The House of Kuppenheimer.

The companies date back to the late nineteenth-century. Hart, Schaffner & Marx began operations as Harry Hart & Bro. in 1872, when brothers Harry and Max Hart opened a small men’s clothing outlet in Chicago. By 1887, the company had undergone two name changes and a series of new partnership agreements but settled on the name Hart, Schaffner & Marx. It was soon the largest manufacturer of men’s clothing in America, selling nearly $1 million worth of clothing annually.[1]

The company’s rival, The House of Kuppenheimer, was also based in Chicago. Established by Bernard Kuppenheimer in 1876, the company reached sales of $1 million per year by the 1880s. By the 1910s, it employed nearly 2000 workers.[2]

The companies specialized in tailored clothing for men, young men, and boys and distributed their catalogs through the retailers that sold their products. These catalogs capitalized on the allure of the wealthy American elite as the companies hired well-known illustrators[3] to create images that associated the brands with the fulfillment of the American dream. Taglines referring to “prep school boys” and “stylish business men” accompanied images of young men and women hunting, horseback riding, attending lavish banquets and performing other activities associated with America’s burgeoning leisure class.

Yet, much like F. Scott Fitzgerald’s iconic literary portrait of the era, the catalogs also reveal the tensions underlying the pursuit of this elusive lifestyle. Indeed, the catalogs’ subjects are, like Gatsby himself, often as remarkable for their gaiety as for their unshakeable ennui. Meanwhile, the catalogs’ recurring concern with ‘rightness’ and ‘correctness’ betrays the intense pressures of conformity that governed the American upper classes.

Despite the catalogs’ glamourous subject matter, their emphasis on value and economy additionally reveals a target consumer more likely to pinch pennies and aspire to upward social mobility than to enjoy the breeze from an already-purchased yacht. In their most disconcerting form, the images flatly expose the American dream as a reality accessible to only a precious few in terms of race and gender.

The catalogs thus stand as a rich resource not only for those interested in the history of fashion, graphic design, or advertising, but also for anyone exploring race, class, and gender politics in America in the 1910s and 20s. Stop by Ryerson Special Collections on the 4th floor of the library to see these small but powerful documents of American history (call numbers: TT620.K87 1916-1921 ; TT620.H36 1911-1925) and to peruse other resources related to the history of fashion in North America, Europe and elsewhere.

Bibliography

1. Hart, Schaffner & Marx. (2005). In J.L. Reiff, A. D. Keating, & J.R. Grossman (Eds.), Encyclopedia of Chicago. Chicago: The Chicago Historical Society.

2. Kuppenheimer (B.) & Co. (2005). In J.L. Reiff, A. D. Keating, & J.R. Grossman (Eds.), Encyclopedia of Chicago. Chicago: The Chicago Historical Society.

3. Price, C.M. (1922). Poster design: A critical study of the development of the poster in continental Europe, England and America. New York: George W. Bricka.

This unique cabinet card from the Lorne Shields fonds of the Historical Photograph Collection at Ryerson’s Special Collections features not only an uncommon composition, but also an interesting history of Canada’s railway systems inscribed on its verso.

Written in pencil on the back of this cabinet card are the arrival and departure times for a journey from Ingersoll, Ontario to Kingston, Ontario via both the Grand Trunk Railway and the Canadian Pacific Railway circa 1905.

Impressively, using the Grand Trunk Railway (inscribed as “G-T”), the traveller would have been able to make the trip in just under 13 hours, leaving Kingston at 3:45 p.m. and arriving back in Ingersoll at 4:31 a.m. with transfers in Toronto and Hamilton. According to Google Maps, the same journey today would take 13 hours and 50 minutes using Via Rail Canada (including transfer waiting time). Whether either of the women in the photograph were travelling can only be speculated.

Special Collections, located on the fourth floor of the Ryerson Library, holds numerous examples of late nineteenth-century and early twentieth-century photographs, including cabinet cards, cartes de visite, tintypes, daguerreotypes and ambrotypes, as well as contemporary guidebooks and manuals. To access Special Collections give us a call or send us an email to book an appointment at asc@ryerson.ca or 416-979-5000 ext. 4996.

The History and Growth of Travel Photography

Not long after the announcement of L. J. M. Daguerre’s daguerreotype process in 1839, the photographic medium and its technologies began to develop rapidly.  While the unique image of a daguerreotype was well-suited to decorative portraiture, the lack of a negative and long exposure times made the process less profitable for landscape or travel photography since photographers could not reproduce multiple prints to sell to the public.  As photographic technologies advanced, the invention of tintypes helped to lower the price of photographs by producing images on affordable metal plates, the sturdy nature of which also allowed for them to be shipped or mailed abroad.  The increased use of the “wet-plate” negative process in the mid-nineteenth century allowed photographers to make multiple, saleable prints from one negative and thus became one of the more profitable processes for a travelling photographer despite the process’s cumbersome nature.

It was not until the invention of the Kodak camera in 1888 that photography truly became a popular hobby.  Persuaded by the company’s slogan, “You push the button and we’ll do the rest”, consumers embraced the newly accessible nature of photography which no longer demanded the knowledge and technical skills as had been previously required.

While it was not until the last quarter of the nineteenth century that photography fell into the hands of the general public, photographers had long since been documenting exotic places abroad, returning with images that allowed citizens in their home countries to become familiar with far-away, foreign places despite having never left their hometown.  Early photographers** known for doing so include Francis Frith, Maxime du Camp, J. P. Sebah, and Samuel Bourne, to name just a few.

As travel methods advanced and became more readily accessible, people carried their own cameras and documented their travels, returning home to brag to friends and relatives about where they had been, presenting their photographs as proof of their exotic experiences.  It is these types of photographs that we find in the Lorne Shields fonds.  Containing photographs of scenic landscapes, major sites of attraction and other tourist snapshots, we can explore countries not only half way around the world but also as they existed over a hundred and fifty years ago.

Today, travel photography remains popular as ever as both cameras and global travel become increasingly accessible to the public.  Tourists now scramble to get photographs of themselves at whatever landmarks are deemed “must-sees” in their respective destinations, with the infamous “selfie” becoming a dominant sub-category in travel photography.  While the photographic medium has improved exponentially since its conception, we must be wary of our recent addiction to the accessibility and instantaneity that digital photography – particularly cell phone photography – continues to provide us with.  In light of our haste to document and communicate our travels, we must pause to consider a concern that many have started to address: at what point are do we sacrifice our genuine appreciation of the travel experience in order to prove our being there, as we increasingly spend more time producing or interacting with these “proof of experience” photographs than with the actual landmark or destination itself.

Travel Photography in the Lorne Shields Fonds

Best known as an avid bicycle collector and historian, Lorne Shields’ interest in collecting began at an early age when he observed ­– and later helped to operate – his father’s business, selling bicycles and various parts and accessories.  Though his initial interest was primarily focused on acquiring bicycle-related objects and memorabilia – such as photographs, books and magazines–, his passion for and dedication to collecting soon expanded.  Photography became one of his many collecting interests and in 2007 he donated part of his photographic collection to Special Collections at Toronto Metropolitan University’s Library.

Comprised of boxes of photographs, textual materials and photographic albums, the Lorne Shields Fonds includes a variety of photographic material including studio portraiture, landscape photography, and many amateur snapshots, and almost half of the photographic albums are titled after countries or travels abroad.

These travel albums consist of photographs primarily from the late nineteenth and early twentieth centuries and include photographs taken in Italy, France, Spain, Sweden, England, Morocco, Malta, Korea and many other countries.  Photographs of well-known landmarks and tourist attractions include sites such as Place de la Concorde in Paris, France; Plaza de Isabel II, Spain; The Leaning Tower of Pisa, Italy; the Temples of Venus, Mercury and Jupiter in Rome, Italy; various locations in the Grand Canyon, in Arizona, U.S.A; and many more.  Below is a small selection of the vast number of images in the fonds that address photography’s use in documenting travel in the late nineteenth and early to mid- twentieth centuries.

Conclusion

Almost since the beginning of photography’s existence, photographers have been documenting their travels in foreign countries abroad.  Improvements in photographic technologies made travel photography increasingly profitable for photographers until the invention of the Kodak camera in 1888, which granted widespread accessibility to photography for the general public and led to an abundance of scenic landscape and tourist snapshots as individuals documented their travels across the globe.

The Lorne Shields Fonds presents numerous travel photographs in many of its photographic, documenting several countries and well-known sites in the late nineteenth and early twentieth centuries.  These photographs represent a specific type of photography at a specific point in time.  Today, this type of photography ­­– travel photography – is increasingly affected by the instantaneity possible with digital and cell phone photography, allowing photographs be shared literally moments after they are created.  It is this instantaneity that we must be wary of, as many begin to worry that the perceived importance of sharing these images immediately may detract from the experiences of travel itself.

References

British Library Online Gallery, curator.  (n.d.)  The World in Focus.  In Historic Photographs. http://www.bl.uk/onlinegallery/features/photographicproject/worldinfocus.html

British Library Online Gallery, curator.  (2009). Travel.  In Points of View.  Retrieved from: http://www.bl.uk/onlinegallery/onlineex/pointsofview/themes/travel/index.html

Flemming, J. (April 1^st, 2012).  From Boneshaker to the Pneumatic Tire.  Ornamentum.  Retrieved from: http://ornamentum.ca/article/from-boneshaker-to-the-pneumatic-tire/

Francis Frith.  In George Eastman House Still Photograph Archive.  Retrieved from: http://www.geh.org/ne/mismi0/frith-sin_idx00001.html

Museum of Fine Arts Boston, Collections.  Retrieved from: http://www.mfa.org/collections/object/the-great-sphinx-at-giza-looking-southwest-334699

Research Photographs at Princeton University, curator. (n.d.).  Global Views: Nineteenth Century Travel Photographs.  http://www.princeton.edu/researchphotographs/exhibitions/

Sandweiss, M. A.  (2006, Winter).  Photography in Nineteenth-Century America.  History Now 10. Retrieved from:  http://www.gilderlehrman.org/history-by-era/art-music-and-film/essays/photography-nineteenth-century-america

Even today, just over two years since Kodak filed for bankruptcy, George Eastman’s name is unforgotten for the acute business prowess he demonstrated during the formation of his legacy, the Eastman Kodak Company. Often compared to Apple’s Steve Jobs, Eastman was known for his ingenious business strategies that began the mass commercialization of photography and put a camera in every home.

Looking at Eastman’s childhood, it is no surprise that he became such an incisive business man. Although his father, George Washington Eastman, passed away when he was only six year’s old, he still managed to found one of the oldest commercial colleges in the world, the Eastman Commercial College, that later became part of the Rochester Business Institute. Entrepreneurialism was in Eastman’s genes. His family did not fare well after the death of George Washington, and as Eastman grew up he watched his mother struggle to keep the lifestyle her family had been accustomed to. It could be said that this may have helped to motivate Eastman to follow in his father’s footsteps.

Having shown an early interest in photographs and stereoviews, Eastman’s real journey with photography first began in 1877, when he purchased his first camera to take pictures on a trip he didn’t end up making. At the time, photography was an expensive and labour-intensive hobby that required patience and a lot of equipment. Eastman began experimenting with this camera and before long he had patented his first photographic contributions: a gelatin dry plate emulsion and a mechanism for coating glass plates. With these he began the Eastman Dry Plate Company. By 1881 Eastman had turned his company into a successful and sustainable business, but it was a different invention that truly set the stage for what Eastman’s business would become: film.

Despite having already established such a prosperous business, Eastman still had bigger plans. At a time when the industrial revolution was still a recent memory, his 1932 biography by Ackerman states the four policy guidelines Eastman followed to encourage the growth of his company:

1. Production in large quantities by machinery
2. Low prices to increase the usefulness of products
3. Foreign as well as domestic distribution
4. Extensive advertising as well as selling by demonstration

Eastman wanted to find a way to replace the glass from a collodion negative, create a workable holder for that replacement, and build machinery that would be able to efficiently manufacture each invention. He looked to previous unsuccessful attempts at roll-film, such as one by Wernerke from the 1870s, and sought to improve on them and increase their usability. By June 1885, in collaboration with camera builder William Walker, George Eastman had patented and put on the market a form of roll film, a roll holder, as well as a form of sheet paper plates, a more recognizable substitute for glass. With this shift in focus towards his business, the Eastman Dry Plate Company was purchased by the Eastman Dry Plate & Film Company.

Because of the contemporary fascination with the photography, as well as the labour intensive traits of the hobby, many people involved in the technology were eager to improve on it. During the late 1800s and into the early 1900s many ideas were popping up and photographers wanted to ensure they would receive the credit for them, by applying for patents. Eastman himself was aware of the need to protect his inventions and made sure to attain patents (through application or buying them from other inventors) for every step of his new film system, a strategy continued throughout the life of the company. He, along with his business partners at the time, bought out all their foreign patents as well, and began to initiate step 3, opening an outlet in London, U.K. in 1884. By 1886 Eastman had placed a man named Joseph Thatcher Clarke in charge of in charge of linking the United States with Europe, to help protect the company’s American inventions.

Many doubted Eastman’s commitment to his early flexible films, and it did not initially catch on with experienced photographers. Consumers, still primarily established photographers, were not able to produce as good of results as they could with their glass plates. However, Eastman had confidence that the inexpensive and effective qualities of this product would eventually lead to mass manufacturing. In reaction to poor public response, Eastman added new products to his business: American film and a developing out paper called “Permanent Bromide”, which yielded better results than his earlier paper-based films. He dreamt of popularizing photography to the extent that everyone would participate in the practice, and added a photofinishing service that could provide enlargements and prints to those who used his films. Eastman now sold films, paper, prints and enlargements, yet there was still one component missing from the Eastman Dry Plate & Film Company that was hindering his products from reaching every household, and that was a camera.

It was in 1888 that George Eastman coined the word Kodak, a unique, short, memorable name that could not be mispronounced, and unveiled his first box camera along with a new system of photographic image making that anyone could use. Along with the slogan “You press the button, we do the rest”, Eastman had found a new market to sell his products to that experienced photographers had refused to buy. Anyone could purchase a camera pre-loaded with a pre-loaded 100 exposure roll of film, take their 100 shots, mail the camera back to the Eastman Dry Plate & Film Company in Rochester, and wait to have their prints and the camera loaded with a new roll of film mailed back to them. Within the next decade Eastman was able to improve his technology to make photography even more affordable, and his dream a reality.

Ryerson Library Special Collections, located on the fourth floor of the Ryerson Library, holds numerous examples of the formation of the Eastman Kodak Company, particularly in Canada, including cameras, films, photographs and more! To access Special Collections give us a call or send us an email to book an appointment at: asc@ryerson.ca or 416-979-5000 ext. 4996.

References:

Ackerman, Carl W. George Eastman.

Brayer, Elizabeth. George Eastman.

Collins, Douglas. The Story of Kodak.

Jenkin, Reese. Images and Enterprise: Technology and the American Photographic Industry, 1839-1925. Baltimore: John Hopkins University Press, 1897.